In his quest to seduce every woman in his path, the title character of “Don Giovanni” is one of opera’s most energetic figures — restless, relentless and always on the move.

Like the don, the San Francisco Opera’s current production never seems to run out of steam. In the company’s forceful revival of Mozart’s masterpiece, the opera unfolds in a driving, irresistibly propulsive flow.

But “Don Giovanni” also requires a strong, resourceful cast, and at Sunday afternoon’s opening performance at the War Memorial Opera House, a vibrant ensemble, which included several company debuts, brought it to life with impressively dynamic results.

Directed by Jacopo Spirei, the performance was strong where it mattered most, in the relationship between the title character and his beleaguered manservant, Leporello.

Uruguayan bass-baritone Erwin Schrott, also making his company debut, was a brilliant Leporello. A gifted singing actor, Schrott shaded the role with robust vocalism and keen comic timing. Whether he was lighting up the stage in his Act I Catalogue aria, or buoying the hilarious Act II episode in which he impersonates Don Giovanni, Schrott delivered the role with verve and an abundance of cheerful, loose-limbed appeal (Erik Anstine assumes the role on June 24 and 30.).

There were pleasures throughout the cast. Soprano Erin Wall made a stunning company debut as Donna Anna, soaring through the wronged noblewoman’s expressive coloratura flights with dramatic urgency. Ana María Martínez, in the role of Donna Elvira, deployed her edgy soprano in a performance that culminated with a secure “Mi tradi.” Soprano Sarah Shafer made a sparkling, if slightly undersized, impression as Zerlina.

Stanislas de Barbeyrac was an elegant Don Ottavio; the French tenor, in his first U.S. appearance, made “Il mio tesoro” one of Sunday’s highlights. Bass-baritone Michael Sumuel was an unusually firm, forthright Masetto, and bass Andrea Silvestrelli thundered appropriately as the Commendatore.

Despite a few moments of un-coordination between stage and pit, conductor Marc Minkowski — another company debut — led a sumptuous account of Mozart’s score, one that emphasized its sleek contours and luxuriant beauties and supported each singer handsomely.

This production, first introduced at the War Memorial in 2011, was revived by director Spirei with the addition of projections and scenic adaptations by German designer Tommi Brem. Originally designed by Alessandro Camera, with lighting by Gary Marder, the set’s principal feature remains the same: a group of 21 hanging mirrors raised and lowered in different formations for each scene. New are Brem’s series of ghostly images, which fade in and out on the mirrors’ surfaces to suggest the lives destroyed in the wake of Don Giovanni’s reckless adventures.

The production runs through June 30, with the final performance shown in a free live “Opera at the Ballpark” simulcast at AT&T Park. With a cast this good, seeing it on the big screen should be quite a thrill.